Lili/Darwin

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Lili/Darwin is a captivating one-woman show from writer/performer Darwin Del Fabro (They/Them, A Midsummer Night’s Dream) that explores her own transition as well as that of Danish painter Lili Elbe, with Del Fabro playing both in alternating segments. Elbe was a trans woman in the 1920s/30s and one of the first people to ever get sex reassignment surgery. Del Fabro reads from the painter’s posthumously published journals as a way to reimagine Elbe’s innermost moments contrasted with those of her own. At the same time, she maintains the dramatic distinction between herself and the Danish painter.

Director Meghan Finn (Kara & Emma & Barbara & Miranda, A Trojan Woman) chooses to bisect the stage, with Del Fabro relegated to the right hand side when portraying Lili and the left hand side when portraying herself. For the first several sections, Lili sits. She smokes, she commiserates, she lounges. Only once she begins transitioning does she stand, after which she can move, dance, and laugh. It’s an excellent way to wordlessly show Lili’s changing demeanor as her treatment progresses. The most notable example is towards the end of the play, after Lili has returned from her surgery in Berlin, there’s something slightly different in her body language. Her movement has a certain lightness to it that isn’t present in earlier scenes. It’s a subtle yet genuinely beautiful moment. Del Fabro deftly portrays the painter’s shift from apathy to euphoria, making for a touching tribute.

Finn’s use of shadow is particularly noteworthy. The costumes (done by the writer/performer herself) give Del Fabro a striking silhouette, allowing the show to dip into dimmer lighting (by production designer Pete Betcher) on occasion without losing sight of its star. These brief moments create a sense of intimacy with the audience and make it all the more dramatic when Del Fabro steps back into the light, whether as Darwin or Lili. Lili has several props (organized by stage manager Lucy Bonin), yet Darwin needs none, commanding the stage by presence alone.

Del Fabro’s passionate delivery makes each monologue utterly enthralling. She’s captivating on stage, expertly dialing the intensity up and down as she pleases. Darwin is animated in a way Lili never is, yelling and whispering as if the words are pouring out of her of their own volition. Del Fabro’s skillful performance sees her excel in dual roles, yet her star shines brightest when she’s simply being herself.

Sympathy and self-denial are major themes of the show. Del Fabro chronicles the slow process of exploration, of tentatively allowing oneself the possibility of joy, the same process Lili (and many other trans people) have gone through. A particularly standout moment is when Darwin realizes she doesn’t actually know what she wants, because she unable to even consider the idea of wanting anything in her old life, before transitioning. It’s an incredibly vulnerable moment, and Del Fabro’s stark performance makes it all the more personal. Throughout the show, her expressiveness and honesty as an actress are wonderfully effective tools for getting at the show’s emotional core.

The general public has long had a fascination with trans stories, but it remains rare that a trans person gets to actually tell one. Trans women in particular are frequently talked about yet rarely given a chance to speak for themselves. Lili/Darwin, however, is special beyond its authenticity. It is a beautiful and captivating one woman show, at once deeply personal and universalist. The profound pathos and subtle yet overwhelming joy in both narratives make this a deeply resonant piece of theater. In the end, Lili/Darwin shows just how powerful trans women’s own words really are.

Lili/Darwin (through August 23, 2025)

Madalena Productions

The Tank, 312 W 36th St, New York, NY, 10018

For tickets, visit http://www.lilidarwin.com

For more information, visit http://www.thetanknyc.org

Running time: 75 minutes without an intermission